Research article

The aesth-ethic science of visual data

storytelling: Istat’s experience

Statistical Journal of the IAOS

2025, Vol. 41(4) 1321–1337

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DOI: 10.1177/18747655251366480

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Daria Squillante, PhD

Abstract

In the contemporary techno-informational visual revolution, the Italian National Institute of Statistics (Istat) is advancing

the technical-scientiﬁc synergies between multi-source, multi-dimensional statistical production and multi-target, multi-

channel statistical communication. More speciﬁcally, Istat’s communication envisions the harmonization of ‘content’ and

‘container’ not only as a Figure/Ground dialectic, but also as an interpenetration between statistical substance and the

visual form of its phenomenological representation. Within this strategic approach, this paper presents Istat’s growing

infographization of its multi-thematic production, with a focus on video infographics as a case study, discussing its main

challanges.

Keywords

statistical communication, visual data storytelling, cognitive processing of visuals

Received: 23 May 2025; accepted: 27 July 2025

1 Statistical production and

communication: A creative

technical-scientiﬁc Pas de Deux

1.1 Statistical communication according to the

Onlife paradigm

In today’s information revolution, the Italian National

Institute of Statistics (Istat)—just a breath away from its

centenary— is performing a technical-scientiﬁc pas de

deux between multi-source, multidimensional production

and multi-target, multi-channel communication. It does

so with an increasing level of expertise and creativity,

by harmonizing content and container in statistical dissem-

ination. This harmonization is no longer conceived solely

as a Figure/Ground dialectic, but—when appropriate—as

a fusion of statistical substance and the visual form of

phenomena representation.

The contemporary socio-technological Onlife paradigm

(Floridi, 2014)—already pervasive by the end of the

last millennium and increasingly inﬂuential in the ﬁrst

twenty-ﬁve years of the twenty-ﬁrst century—ﬁrst chal-

lenges, and then ultimately deconstructs, both the general

principles of the now-unstable hierarchical information

era—characterized by the unidirectionality of the infor-

mation process (i.e., sender-to-recipient) and the selec-

tivity of information recipients (i.e., expert users)—and

their speciﬁc application in shaping the mission and core

communication strategies of National Statistical Institutes

(NSIs).

Indeed, as recently as 1993, the i nternet was used

almost exclusively in scientiﬁc, research, and military set-

tings. Web 1.0 still reﬂected a top-down communication

model, where the needs and input of the audience remained

peripheral to institutional communication strategies. By

2005—with the rise of Web 2.0—and even more so with

the conceptual and structural leaps of 2007 and 2015 (Web

3.0), a visually oriented and pervasive Web began to sus-

tain the progressive reengineering of NSI communication

strategies.

This emerging, globalized information-identity structure

of the Onlife, also grounded in the overarching ideal of

“universal participatory knowledge,” challenges NSIs to

reframe the civic ideal of ofﬁcial statistics as a common

good produced, into one of ofﬁcial statistics as a common

good both produced and shared.

In other words, the civic value of high-quality sci-

entiﬁc production is now accompanied by the civic

imperative of its communication—statistically reliable but

Directorate for Communication - Responsible for ISTAT Statistical

Communication, Italian Institute of Statistics - ISTAT, Rome, Italy

Corresponding author:

Daria Squillante, Istat, Via Cesare Balbo 16, 00100 Rome – Italy.

Email: squillante@istat.it

1322 Statistical Journal of the IAOS 41(4)

also accessible and engaging not only for expert audi-

ences, but also for broader, non-expert publics. These

audiences are now easily reachable through both old

and new media, which have become ubiquitous due to

their broad availability and the active role users play in

their use.

In this inclusive information era—where sharing, inter-

action, circulation, and reinterpretation of content are

foundational practices of a hybrid space blurring the

lines between producers and consumers of (statistical

and other) information—NSIs statistical communicators

becomes increasingly responsible for co-creating mes-

sages, in varying ways, rather than merely transmitting

information.

This co-creation involves, albeit in different roles, both

the inclusion of audience expectations in the initial design

and production of information (i.e., incorporating the

receiver’s input at the sender’s output stage), and the ampli-

ﬁcation of the original information’s reinterpretation and

reuse by the audience (i.e., the sender’s output becom-

ing input for t he receiver’s new content), across an ever-

evolving range of sharing platforms. All authors cited in

the references have been inspirational in the development

of this contribution, without direct attribution to speciﬁc

sections of the text.

1–12

1.2 Audience protagonism and the complexity of

creating infographics and video infographics

To ensure the effectiveness of statistical communication in

a world ﬂooded by both reliable and unreliable content,

NSIs are now more consciously and coherently attuned to

the web and to their current and potential audiences. They

are mastering the shift from a hierarchical perception of the

information chain—distinguishing between “producer” and

“consumer”—towards a model dominated by the prosumer:

the consumer who also becomes a producer by extracting,

manipulating, and reusing information.

Thanks to a creative convergence of technical and sci-

entiﬁc expertise, Istat’s attentiveness to this “new protago-

nism” of audiences is expressed through:

a) Structured feedback and continuous optimization;

b) Motivation analysis and audience engagement;

c) Interdisciplinary integration and production

capacities;

d) The “3Es” framework in communication: effective-

ness, efﬁciency, and economy.

The following sections brieﬂy explore each of these four

interconnected areas, highlighting how they contribute to

the development of a more responsive, effective, and sus-

tainable model of statistical communication grounded in

infographics.

a) Structured feedback and continuous

optimization

Responsiveness to direct and indirect user feedback

is a cornerstone of Istat’s strategy for shaping both

the content and form of its visual data storytelling

products.

This feedback is increasingly gathered through digi-

tal performance analytics, including metrics such as

page views, time on page, click-through rates, social

media engagement indicators (likes, shares, com-

ments), and platform-speciﬁc insights from tools

like Facebook Insights, X/Twitter Analytics, and

LinkedIn metrics.

This operational model has guaranteed two main

goals:

− Evidence-Based Evaluation of Statistic Commu-

nication Effectiveness

Data offer valuable, real-time proxies for user inter-

est, comprehension, and interaction, allowing com-

munication teams to monitor how content performs

across different channels and audience segments.

For example, particularly high bounce rates or short

viewing times on certain infographics may sig-

nal issues with visual clarity or narrative struc-

ture, prompting targeted redesign. Conversely, high

shareability or extended viewing of a video info-

graphic may inform future editorial choices;

− Data-Driven Optimization and Iterative Design

This operational model aligns with an evidence-

based communication approach, where statistical

outputs are not only published but also tested,

measured, and iteratively improved. In other

words, such insights feed into a cycle of

continuous optimization, where user behav-

ior actively informs the evolution of formats,

layouts, themes, and dissemination timing.

In Istat, this data-driven feedback loop is sup-

ported by multidisciplinary expertise and human

resources—including statistical experts, statistical

communication specialists, graphic designers,

psychologists, web s pecialists, and social media

professionals—capable of interpreting not only

the numbers, but also the underlying cognitive

and motivational dynamics of diverse user groups,

both expert and non-expert, as well as techni-

cal issues. This integrated approach reinforces

the dual aim of scientiﬁc rigor and accessibility.

b) Motivation analysis and audience engagement.

Understanding the multifactorial motivational

matrix that drives user preferences, reactions,

Squillante 1323

and levels of engagement or disengagement with

various types of statistical communication products

is essential for designing effective dissemination

strategies.

This complex motivational landscape encompasses

cognitive, emotional, and contextual factors that

inﬂuence how diverse audiences interact with con-

tent. For instance, expert users may prioritize data

accuracy and methodological transparency, while

non-expert audiences often seek clarity, narrative

coherence, and visual appeal.

To capture this complexity, Istat employs a mixed-

methods approach that integrates both qualitative

and quantitative research techniques. Quantitative

data derive from large-scale surveys assessing user

satisfaction, trust, and perceived usefulness of dif-

ferent formats, as well as from behavioral analytics

tracking interaction patterns—such as time spent on

pages, click rates, and social media sharing metrics.

Less often, complementarily, qualitative insights are

derived from focus groups and usability testing ses-

sions (Usability testing is especially practiced in the

development of statistical games, within the broader

framework of gamiﬁcation. In these cases, evalu-

ating user experience is crucial not only to ensure

comprehension and engagement, but also to balance

educational goals with playability and motivational

appeal.), which provide rich contextual understand-

ing of users’ needs, motivations, and barriers to

engagement.

This combination enables granular identiﬁcation of

the narrative formats—ranging from static info-

graphics and interactive dashboards to short-form

video infographics—that are most effective in stim-

ulating comprehension, retention, and trust across

heterogeneous user groups.

Such evidence-based knowledge guides the itera-

tive design and reﬁnement process, ensuring that

communication products are not only scientiﬁcally

rigorous but also accessible and engaging for both

expert and lay audiences.

Furthermore, the evaluation of (non)engagement

patterns informs targeted adjustments in content

complexity, visual language, and dissemination

channels, optimizing reach and impact within the

evolving Onlife paradigm.

c) Interdisciplinary integration and production

capacities.

The interdisciplinary integration of statistics with

ﬁelds such as information visualization and design,

digital s torytelling and marketing, neuroscience and

communication psychology, AI, represents a crit-

ical evolution in the communication strategies of

National Statistical Institutes (NSIs). This multi-

faceted integration aims to enhance the clarity,

accessibility, and emotional resonance of statistical

products, thereby fostering greater user engagement

and trust across diverse audiences.

However, while conceptually powerful, this integra-

tion presents tangible organizational and operational

challenges.

The production of high-quality visual communi-

cation outputs requires specialized technical skills

including statistical competence, data visualization

expertise, narrative crafting abilities, graphic excel-

lence, user experience (UX) proﬁciency, among

others.

Such competencies often span distinct professional

domains, necessitating collaborative workﬂows and

effective interdisciplinary coordination within the

NSI. Moreover, these activities require appropri-

ate technological infrastructure, software tools, and

continuous investment in professional development.

In this context, Istat face pressing strategic ques-

tions regarding the allocation and management of

ﬁnancial and human resources. Key considerations

include determining which capabilities should be

cultivated internally—through targeted recruitment,

interdisciplinary team-building, and training pro-

grams—and which can be effectively outsourced to

external agencies or freelance specialists.

Sometimes outsourcing may offer to Istat ﬂexibil-

ity and access to cutting-edge expertise for complex

or resource-intensive projects, such as large-scale

digital campaigns.

For the communication of the new permanent Cen-

suses — Population and Housing Census; Busi-

ness Census; Census of Public Institutions; Cen-

sus of Non-Proﬁt Institutions; and Agricultural

Census — Istat collaborates indeed with a com-

munication agency for the development of selected

institutional and statistical communication products.

Nonetheless, the Institute retains full control and

supervision over both the substantive content and the

stylistic direction of all materials produced.

However, maintaining internal competencies

remains essential for ensuring institutional knowl-

edge, responsiveness to user feedback, and

alignment with the NSI’s mission and quality

standards. Istat exempliﬁes this balanced approach

by adopting a hybrid production model.

Internal teams, often formed through cross-

disciplinary collaboration and continuous

upskilling, manage the core phases of content

design, data analysis, and initial visualization.

External contributions complement these efforts,

particularly for advanced multimedia products

1324 Statistical Journal of the IAOS 41(4)

requiring specialized creative skills or capacity

surges.

This model allows Istat to optimize resource uti-

lization while upholding the s cientiﬁc integrity and

communicative effectiveness of its statistical dis-

semination in a rapidly evolving information ecosys-

tem, such as implemented, for example, for new

permanent Census.

d) The “3Es” in communication: effectiveness, efﬁ-

ciency, and economy.

The sector-speciﬁc application of the “3Es” of

public policy—effectiveness, efﬁciency, and econ-

omy—serves as a fundamental framework within

the architecture of statistics-based communication.

This framework ensures that the design, production,

and dissemination of statistical outputs are aligned

with both organizational objectives and public ser-

vice mandates.

Effectiveness refers to the actual impact of com-

munication efforts in achieving their intended out-

comes, such as enhancing comprehension, fostering

trust, and promoting the practical use of statistical

information by both expert and non-expert audi-

ences. This dimension is closely linked to the anal-

yses of user motivation and engagement described

in point (b), as well as to the responsive feedback

mechanisms highlighted in point (a), which pro-

vide empirical evidence to assess and improve the

communicative impact.

Efﬁciency pertains to the optimization of processes

and resource utilization involved in producing statis-

tic communication products. It encompasses the

management of workﬂows, collaboration across

interdisciplinary teams (point (c)), and the prudent

application of technological tools and methodolo-

gies. Efﬁcient workﬂows ensure that high-quality

outputs are delivered in a timely manner, avoiding

unnecessary duplication of effort and enabling swift

adaptation to user feedback and evolving informa-

tional needs.

Economy, the third and equally critical “E,”

addresses the cost-beneﬁt considerations inherent

in statistic communication production. As detailed

in point (c), the creation of visually compelling

and engaging formats such as infographics and

video infographics demands signiﬁcant investments

in specialized personnel, software, and time. These

resource-intensive formats, while potentially offer-

ing superior engagement and memorability, must be

balanced against budget constraints and organiza-

tional priorities.

This triadic framework necessitates strategic decision-

making to optimize the allocation of limited ﬁnancial

and human resources without compromising the scien-

tiﬁc integrity or communicative effectiveness of statistical

dissemination.

For example, Istat’s hybrid model of combining in-house

expertise with external contributions (point (c)) exempli-

ﬁes how institutions can achieve a sustainable balance,

leveraging specialized skills for complex productions while

maintaining control over core functions.

Ultimately, the “3Es” principle guides Istat in navi-

gating the trade-offs between high-impact communication

and resource feasibility, ensuring that statistical informa-

tion remains a common good, both rigorously produced and

effectively shared, in alignment with the Onlife paradigm of

participatory knowledge described earlier.

The following section provides an overview

of the operational design process behind Istat’s

infographics—illustrating how these principles are trans-

lated into practice through a structured and interdisciplinary

workﬂow.

1.3 The process of designing and producing a

statistical infographic

Istat’s infographics experiments r epresent a unique fusion

of scientiﬁc art and artistic science, where creative design

enhances informational accuracy in the science of visual

data storytelling.

The aim is not merely to list data, but to tell struc-

tured visual stories crafted to capture attention and deepen

understanding, while remaining faithful to the ideal and

inspirational triangulation between scientiﬁc rigor, the per-

formative power of experiential graphics, and the pro-

tection and enhancement of the Istat brand and visual

identity.

To uphold this triangle of aesthetic-scientiﬁc info-

graphic communication—an overarching principle guaran-

teed across all of Istat’s statistical communication products

regardless of format, channel, or audience—the f ollowing

core principles can be summarized:

• Simplicity

Istat’s designs strive for simplicity as the pinnacle of

complexity, ensuring that data is intuitively under-

stood and that user attention is enhanced rather than

hindered by technical jargon or complexity.

• Clarity and Consistency

Information is always presented clearly and legibly,

supported by a consistent style in terms of colors,

fonts, and imagery, which also evocatively reﬂects

the themes addressed.

• Relevance

The graphic architecture reinforces the intuitive hier-

archy of content and guides its optimal sequence for

consumption.

• Balance

Squillante 1325

To maximize visual impact, careful attention is paid

to balancing textual elements—both numbers and

words—with graphical components.

• Originality

Statistical communication products aspire to be

unique and memorable experiences of statistical

aesthetics, where the Istat brand strengthens and

extends its reputation among both loyal and new tar-

get audiences, positioning itself as an indispensable

source of statistics.

To operationalize these principles—while preserving the

uniqueness of each infographic creation—a sequence of

preparatory steps can be identiﬁed:

Phase 1 - Interdisciplinary Collaboration and Orga-

nizational Planning

• Assemble a multidisciplinary team including statis-

ticians, communication experts, data visualization

experts, graphic designers, user experience special-

ists, and communication psychologists.

• Clearly deﬁne roles and responsibilities to facili-

tate collaborative workﬂows and maintain alignment

with scientiﬁc and communicative objectives.

• Evaluate and decide on internal production ver-

sus outsourcing of speciﬁc tasks, balancing exper-

tise availability, cost considerations, and production

timelines.

Phase 2 - Needs Assessment and Audience Analysis

• Identify and segment the target audience, ranging

from expert users to the broader public.

• Analyze motivations, preferences, and potential bar-

riers to engagement through qualitative and quantita-

tive methods.

• Deﬁne the core message(s) and select statistical con-

tent that aligns with the civic mission of ofﬁcial

statistics as a public good.

Phase 3 - Data Composition and Preparation

• Perform thematic, quantitative, and typological anal-

ysis of available data (the “data bouquet”) to estab-

lish the foundation for communication.

• Select high-quality, relevant, and timely statistical

data to ensure scientiﬁc rigor and transparency.

• Clean and process data to facilitate effective

visualization, taking into account complexity and

multidimensionality.

Phase 4 - Format Selection and Conceptual Design

• Choose the communication format (card, info-

graphic, video-infographic) based on the informa-

tional volume, audience needs, and engagement

potential.

• Develop a narrative and storyboard that balance

statistical substance with visual clarity and sto-

rytelling principles drawn from interdisciplinary

ﬁelds (statistics, communication psychology, digital

storytelling).

• Design initial layouts that establish a clear visual

hierarchy, guiding users through the content seam-

lessly and harmonizing textual and graphical

elements.

Phase 5 - Prototype Development

• Produce a ﬁrst draft or prototype, applying best

practices in data visualization and graphic design.

• Utilize appropriate software tools and infrastruc-

ture tailored to the chosen format (static, interactive,

video).

Phase 6 - Iterative Reﬁnement and Optimization

• Adjust visual, narrative, and technical elements to

enhance clarity, trust, and memorability, identifying

comprehension challenges and design issues.

• Maintain an ongoing balance between effectiveness

(user impact), efﬁciency (workﬂow optimization),

and economy (resource allocation), adhering to the

“3Es” framework.

Phase 7 - Final Production, Branding, and Quality

Assurance

• Finalize the infographic or video infographic ensur-

ing accuracy, visual consistency, and accessibility

across formats and platforms.

• Ensure full compliance with the Istat visual

identity guidelines—including use of institutional

colors, logos, typographic systems, and graphic

conventions—to maintain recognizability, institu-

tional coherence, and public trust.

• Perform comprehensive quality control on data

integrity, visual ﬁdelity, and technical functionality

across dissemination environments.

Phase 8 - Dissemination and Engagement

Monitoring

• Launch and promote the product through strate-

gic channels (website, social media, public events,

conferences,...)tomaximizer

each and impact.

• Monitor real-time user engagement metrics—views,

shares, comments, session duration—and social

media analytics.

• Use engagement data to inform subsequent com-

munication strategies and iterative content improve-

ments.

Phase 9 - Post-Dissemination Evaluation and

Reporting

• Conduct rigorous evaluation of the infographic’s

impact on user comprehension and trust, through

web analytics assessing whether users have cor-

rectly understood, remembered, and acted upon the

information presented.

• Report evaluation outcomes internally for organiza-

tional learning and externally for transparency and

accountability.

1326 Statistical Journal of the IAOS 41(4)

• Update institutional knowledge bases and training

programs to foster ongoing capacity-building and

interdisciplinary collaboration.

This structured process exempliﬁes how Istat responds

to the demands of the Onlife paradigm by embedding

user-centered design, interdisciplinary collaboration, and

resource-aware management into the creation of statisti-

cally rigorous and publicly accessible infographics.

However, the growing relevance and communicative

power of visual formats cannot be explained solely by

contextual or technological shifts.

In fact, the success of infographics also reﬂects a deeper,

evolutionary foundation: the structural and functional pre-

disposition of the human species toward visual processing.

Our brains are naturally wired to perceive, interpret, and

retain visual information more efﬁciently than text alone—a

principle that underscores the strategic value of visual sto-

rytelling in statistical communication. The next section

explores this innate orientation in greater detail.

1.4 A visually-oriented Species

To navigate the futuristic wave of the 3.0

era—unprecedented in the acceleration and unpredictabil-

ity of its trajectory—Istat, like other ofﬁcial statistical

institutions around the world, draws on and actualizes

a 35,000-year evolutionary legacy. Through its visual

statistical products, Istat acknowledges the deeply rooted

physical and psychological, individual and collective,

human need and ingenuity for visualizing the story of our

species—using forms and content at the intersection of

image, word, number, and art.

The human brain’s structural and functional predis-

position for visual processing has never been ques-

tioned by adaptive strategies. In fact, it has inspired and

guided, across centuries, everything from the earliest proto-

statistical infographics drawn on cave walls—weren’t the

graphic marks enumerating hunted animals a form of sta-

tistical inscription?—to the ofﬁcial adoption of data visual-

ization as a military strategy tool in the nineteenth century.

From the global explosion of visualization software in the

1980s to the (quasi)omnipotent applications of artiﬁcial

intelligence in today’s visual domain, the visual has played

a central role in human cognition.

Far from naïve, evolution has strategically concentrated

most sensory receptors in the eyes among all external

perception systems—nearly half of the human brain is con-

tinuously engaged in visual processing, and humans can

process and grasp the meaning of a visual scene in under

a second. Additionally, color enhances attention just as

moving images aid long-term memory—both serving as

emotional triggers that activate mirror neurons and foster

stronger neural connections.

When it comes to the design and experience of statistical

communication products, these species-speciﬁc structural

and functional characteristics guide Istat’s efforts to craft

visuals that are scientiﬁcally designed to enhance mem-

orability and retention of statistical information, while

also preventing cognitive overload—a state in which dis-

organized visual input overwhelms working memory and

impairs understanding.

The cognitive overload that Istat seeks to prevent in its

visual data storytelling products stems from both exces-

sive input—typiﬁed by today’s so-called “data deluge,”

a reality marked by unbounded sources and information

volume—and low-quality input.

While overload from excessive input is more intuitive,

low-quality input refers more speciﬁcally to stimuli—in

this case, statistical information content and its graphic ren-

dering—that fail to meet three key cognitive expectations

embedded in our brain’s wiring for optimal performance:

a) The expectation of high essential processing.

Essential processing refers to the cognitive activity

required to make sense of both complex and simpler

inputs such as texts, images, or their combinations.

Neuroscience shows that successful visual essential pro-

cessing depends on access to rigorously curated images

and words, chosen for their synthesizing power and

organized in a coherent, logical structure. This facil-

itates intuitive integration between textual and visual

structures.

b) The expectation of low incidental processing.

Incidental processing refers to the cognitive “effort”

needed to understand information, depending on the

quality of its presentation. If excessive effort is required,

it can overload cognitive resources, leading to poor com-

prehension, abandonment during consumption, or failed

retention and learning.

c) The expectation of low representational

processing.

Representational processing is the cognitive work

needed to hold an input—such as a number, pictogram,

or video frame—in working memory until enough infor-

mation is available for complete meaning extraction. If

accessing key content for full understanding takes too

long, overuse of working memory may result in com-

prehension bias or deﬁcits in attention, memory, and

learning.

Within this theoretical and operational framework, Istat

aims to produce infographic communications that:

• support essential processing while minimizing inci-

dental and representational load, ensuring an over-

all optimized cognitive processing, also beneﬁting

those l ess accustomed to ‘cognitive marathons’, by

Squillante 1327

facilitating a full and rapid understanding of key

informational messages;

• minimize cognitive fatigue by maximizing informa-

tional synthesis and avoiding redundancy;

• optimize content coherence and thematic

segmentation/sequencing of visual-textual materials,

facilitating structured information access;

• ensure rapid access to all information necessary

for full comprehension, thereby reducing represen-

tational processing time.

But that’s not all.

In line with our structurally and functionally wired

architecture—a living, ultra-connected system both at the

intra-cerebral and inter-organic levels—Istat, through its

visual data storytelling products, is committed to design-

ing technical-scientiﬁc layouts that foster synchrony and

bi-hemispheric human integration in meaning-making pro-

cesses, ultimately enabling an i ntegrated and complex expe-

rience, even in the seemingly simple act of engaging with

an infographic.

Indeed, If it is true, in fact, that when faced with a

statistical infographic, hemispheric lateralization leads the

left hemisphere to focus on more rational and analytical

processing, while the right hemisphere engages its syn-

thetic and imaginative capacities, it is only through their

synergistic complementarity that a fully integrated experi-

ence of understanding and engagement—bridging logic and

creativity—can be achieved (Figure 1).

In the visual statistical communication strategy using

infographics and video infographics, this cerebral duality is

speciﬁcally considered both ex ante during the design phase

and ex post during consumption by the target audiences.

In other words, these products aim to facilitate hemi-

spheric integration by offering a multi-code narrative that is

compatible and harmonious, allowing the left hemisphere

to efﬁciently process logical information and relationships

presented in numerical, graphical, and tabular formats,

while enabling the right hemisphere to engage with images,

colors, animations, and music to abstract overall interpre-

tations and assimilate concepts through emotional intuition

and creative integration.

In light of the human species’ visual predisposition—

discussed above—and building on the principles previ-

ously explored, including the demands of the Onlife

paradigm, the importance of emotional engagement,

and the need to balance scientiﬁc rigor with com-

municative effectiveness, the next section introduces

an original analogy between the design and produc-

tion of video-infographics—within the broader family of

infographics—and the phases of cinematic creation. This

comparison offers a compelling framework for understand-

ing how statistical content can evolve into immersive and

meaningful visual narratives.

2 A cinematic infographic production

house

2.1 Show, don’t tell!

The Onlife Paradigm and the structural-functional aspect of

the species-speciﬁc visual inclination allow us to play—in

the noble Winnicottian sense of the term—by creatively

transposing the Hitchcockian slogan “Show, don’t tell!”

from the realm of screenwriters, dialogue writers, and direc-

tors to that of copywriters in statistical communication.

In the design of animated statistical communication

products, just as in cinematic production, what is skill-

fully “shown,” including its subtext, can inform in a way

that differs from what might otherwise be “told.” Consider,

for example, traditional statistical products such as press

releases, notes, and reports.

To paraphrase the famous quote by master Alfred

Hitchcock—“What is drama, but life with the dull bits cut

out”—the goal of video-infographic communication prod-

ucts is to “cut the boring parts out of statistics,” fostering

an inclusive and engaging information transfer experience.

This mirrors the empathetic relationship between viewers

and ﬁlm protagonists, translated here into the empathetic

relationship between users of statistical content and the

socio-economic and environmental “protagonists” repre-

sented in the product.

How, then, can the steps of cinematic production be

translated into the development process of video infograph-

ics containing statistical content? (Figures 2 and 3).

Step 1 - Inspiration

The tendency to draw inspiration from everywhere and

everyone is a salient feature both in a cinematic produc-

tion house—where an “idea” for a ﬁlm may come from

a screenwriter, a cinematographer, the director, or even

an outsider—and in a “Statistical Communication Produc-

tion House” like Istat, where inspiration can originate from

internal professionals as well as external sources: public,

private, international, individual, or collective.

Step 2 - Control Idea (Pitch session)

The inspiration for a statistical communication product

is always followed by its conceptual development. Just as,

before writing a screenplay, it is essential for a production

team to clearly deﬁne the so-called “control idea” (i.e., the

central concept of the ﬁlm), which will later be expanded

into a 90- to 120-page script, so too must the development

of a statistical communication product begin with a solid

understanding of its control idea—namely, the key statis-

tical message. This message will guide the distillation of

complex phenomena into content that is synthetic, rigorous,

engaging, and well-targeted.

1328 Statistical Journal of the IAOS 41(4)

Figure 1. Hemispheric specialization and integration in meaning-making.

Source: content D. Squillante, brain image from Shutterstock.

If I can explain my control idea in ﬁve minutes—the

standard duration of the dreaded pitch session—and con-

vince the producer or director of the value of mak-

ing my ﬁlm or creating my video-infographic, then that

project may still stand a chance of moving forward toward

realization.

Step 3 - Ex-ante Evaluation

Whether it concerns a ﬁlm or a statistical video-

infographic, once the idea and its purpose are clear and

well-deﬁned, it is essential to evaluate its alignment with the

broader vision of the organizational context—be it a major

ﬁlm studio or an institution like Istat.

This includes assessing how the project ﬁts within short-,

medium-, and long-term strategic planning; the feasibil-

ity and prioritization of investing limited and valuable

resources—both ﬁnancial and temporal; and conducting

market analyses to anticipate expectations and reactions

from target audiences. All of this must be considered

within a cost-beneﬁt framework to justify the required

investment.

Step 4 - Product Type

If the feasibility assessment yields a positive outcome,

the next crucial step is to select the most appropriate for-

mat for delivering the key message to which we are about

to dedicate time, resources, passion, and creativity. This

choice must consider not only what is deemed most suit-

able from a communicative standpoint, but also—perhaps

more importantly—the degrees of freedom deﬁned by the

ex-ante evaluation in terms of available resources.

Just as professionals in a major ﬁlm studio would eval-

uate whether to develop a short, medium, or full-length

narrative (e.g., a short ﬁlm, a medium-length ﬁlm, or a

feature ﬁlm), Istat must decide whether to invest in pro-

ducing, for example, a statistical card, an infographic, or

a video-infographic.

Step 5 - Genre

Each format can then “host” different atmospheres and

narrative tones. Just as a single control idea in cinema can

Squillante 1329

Figure 2. From inspiration to the selection of protagonists.

Source: D. Squillante.

Figure 3. From plot to Ex Post evaluation.

Source: Daria Squillante.

1330 Statistical Journal of the IAOS 41(4)

be expressed through a comedy, a drama, or a science ﬁc-

tion ﬁlm, the stylistic tone of a statistical key message can

vary—ranging from informative to methodological, from

educational to institutional—depending on, and in accor-

dance with, the diverse and interconnected characteristics

of the target audiences and communication objectives.

Step 6 - Protagonists

Just like in a ﬁlm, a statistical video-infographic has its

own irreplaceable “protagonists.” Clearly and coherently

identifying these “protagonist phenomena” is essential to

guide the audience in understanding and retaining the key

messages conveyed by the product.

In designing the “statistical cast”—including positive

and reassuring “protagonist” information, negative and con-

cerning “villain” information, “secondary” information that

may not be a key message but serves as a pivotal element in

the infographic narrative, and “supporting roles” that enrich

cognitive understanding—scientiﬁc rigor is central, crucial,

and indispensable.

This rigor is exercised by the Istat Communication

Service, both through its technical-scientiﬁc expertise in

selecting the speciﬁc information to be communicated, and

in designing the overall structure in which that information

is presented.

Step 7 – Plot

The work on the “cast,” whether by screenwriters

in a major ﬁlm studio or by the “screenwriters” at

Istat, is closely tied to the development of the narrative

architecture—the “plot.” While in ﬁlms this architecture is

structured through scenes, sequences, and acts, in statisti-

cal communication products it unfolds through indicators,

sub-themes, and thematic areas (Figure 3).

At this stage as well, scientiﬁc rigor is essential in

“weaving” together the “characters/phenomena” and their

interconnections, in order to effectively and engagingly

convey either the control idea in a ﬁlm or the key message

in a communication product.

Just as a screenwriter must know every detail of

each character’s “biography,” the Istat “screenwriter” must

understand the full “statistical biography” of each indica-

tor used—ranging from the source data and methodological

choices to data processing—ensuring that the collective

“statistical cast” becomes more than just the sum of its

parts.

In this perspective—and drawing on insights from

Gestalt theory, the Intersubjective Field, and even Epi-

genetics applied to s tatistical communication—each ele-

ment acquires its full, complex, and contextual meaning

only within the phenomenological framework in which

its speciﬁc expression takes shape. In other words, each

character/indicator must be interpreted in relation to the

“informational stories” of the other characters coexisting

within the same narrative frame for its meaning to fully

emerge.

For this reason, great care is taken not only in selecting

the indicators for each synthetic statistical communica-

tion product on complex phenomena, but also in justifying

their inclusion based on the speciﬁc target audiences and

communication channels involved.

More speciﬁcally, and in alignment with the Quality

Assurance Framework of the European Statistical System,

the design of the “statistical plot” leverages technical-

scientiﬁc expertise to ensure that the chosen “statistical

characters” are both relevant and useful to users. This

applies both to the robustness of representation—even when

using information sparingly—and to the methodological

rigor of any accompanying explanatory notes, all while

maintaining aesthetic coherence and visual appeal.

Step 8 – Climax

As in ﬁlm dramaturgy, not all “statistical transitions”

within a communication product can—or should—carry the

same level of “informational intensity.”

It is essential for the “screenwriter” to structure the nar-

rative in a way that builds toward and highlights speciﬁc

“statistical climaxes.” These moments, much like climac-

tic scenes in ﬁlm, are designed to signiﬁcantly heighten the

audience’s experience—whether through analytical depth,

emotional resonance, surprise, or cognitive engagement.

Step 9 - Photography

Just as cinematography plays a crucial role in a

ﬁlm—shaping the perspective and atmosphere of the story

at every moment—so too does “photography direction” in

a statistical communication product.

This involves the graphic choices regarding the “fram-

ing” of the “on-stage” phenomena: spatial arrangement,

positioning of information, sizing, font selection, colors,

graphic elements, and images. Together, these design ele-

ments form a cohesive visual language that creates a dis-

tinctive atmosphere for the statistics being represented and

organized visually.

In the context of Istat, these choices are not merely aes-

thetic but also serve a strategic function: they safeguard

and express the institution’s visual identity. Consistency in

style, color palettes, and typographic systems contributes to

recognizability, credibility, and coherence across communi-

cation products, reinforcing public trust and the authority of

the statistical message.

Step 10 – Direction

The complex process of cinematic or statistical sto-

rytelling requires a director capable of managing the

Squillante 1331

diverse professional skills involved in the art of visual data

narration.

Just as a ﬁlm director coordinates shots, camera move-

ments, and scene editing to guide the audience’s emotions,

the “visual statistical director”, i.e., Istat responsible of Sta-

tistical Communication, integrates and aligns various areas

of expertise and production components, ensuring that each

element contributes to a clear and compelling message.

The statistical director carefully selects and supervises

data, colors, shapes, and layout to construct a visual nar-

rative that enhances audience engagement and comprehen-

sion. This is done in harmony with the ultimate objective:

to convey the initial control idea through every detail—from

data presentation to lighting, opacity, transparency, music,

illustrations, pictograms, and even the product’s horizontal

or vertical orientation.

Step 11 - Post-production

The ﬁnishing and reﬁning phase characterizes the post-

production stage in both cinematic and statistical commu-

nication. During this phase, footage—or the draft of the

statistical product—is selected, cut, and assembled, with

the addition of special effects, sounds, and music to create

a coherent emotional and narrative experience that aligns

with the control idea, tone, and target audience.

Similarly, in the post-production of a statistical com-

munication product, careful attention is paid to optimiz-

ing every visual and auditory element—from font choices

and data arrangement to background music and color

schemes—to fully realize the complex intentions of the

project, maximizing its impact and effectiveness.

Step 12 – Distribution

Once a ﬁlm or statistical communication product is com-

plete, its distribution becomes essential to reach the widest

possible audience—both loyal followers and newcomers,

experts and non-experts alike.

Depending on the genre and content, the distribution

strategy targets the real and/or virtual spaces most fre-

quented by the intended audience—ranging from theaters

and ﬁlm platforms to institutional websites and social media

channels for video infographics.

Step 13 - Ex Post Evaluation

After the distribution phase of a ﬁlm or statistical prod-

uct, the evaluation stage begins—both for a ﬁlm produc-

tion company and for the “Production House of Statistical

Communication.”

Just as a major studio carefully analyzes box ofﬁce per-

formance, audience demographics, and viewing locations,

the “director” of statistical communication at Istat assesses

the strengths and weaknesses of its products.

This evaluation serves to restart, renew, and enhance

the production cycle, continuously improving the ability to

meet the needs and expectations of its audiences.

2.2 The case study of “statistical ﬁlms”

The following case studies illustrate how Istat’s video

infographics have been conceived and distributed across

institutional platforms, reﬂecting a variety of macro-

objectives—from simplifying complex statistical concepts

to increasing the public resonance of key publications.

Moreover, in an increasingly disintermediated commu-

nication environment, Istat’s video infographics consumers

initially act as “spectators” of the “phenomenal charac-

ters” presented by Istat but may evolve into “producers”

and/or “directors” through the creation of “sequels” and/or

“spin-offs” via reworkings and reshares.

Video infographics, in other terms, are not only designed

for comprehension and engagement but also f or circulation,

reinterpretation, and reuse.

2.2.1 Simpliﬁed statistics . As part of the democratization

of statistical knowledge, one of the primary objectives

of Istat’s Communication Department has been to make

complex concepts accessible to a non-specialized audience

through explanatory, simple, and engaging video infograph-

ics.

The inherent educational purpose of this type of video

is to bring people closer to statistics by ﬁrst breaking down

barriers linked to its perceived “incomprehensibility” and

then encouraging viewers to internalize statistics as a uni-

versal tool for situating their citizenship—both reﬂective

and participatory.

Two cult videos with tens of thousands of views in

the Italian version, “ GDP Explained in 2 Minutes” and

“The Labor Market Explained in 2 Minutes,” exemplify

this approach of simplifying and communicating key con-

cepts that are both complex and pivotal within the socio-

economic macro-thematic framework (Figures 4 and 5).

For instance, the GDP video uses playful graphics to

explain what Gross Domestic Product is, how it is calcu-

lated, and why it remains one of the most widely used

indicators to measure the economic health of countries over

time and across regions. Meanwhile, the labor market video

familiarizes viewers with fundamental concepts such as the

classiﬁcation of individuals as “employed,” “unemployed,”

or “inactive.”

The decision to produce these videos arose from the

recognition that, although the public acknowledges GDP

and labor market indicators as crucial dimensions in both

public discourse and everyday life, the absence of targeted

educational resources to properly interpret s uch frequently

circulated data in the media can lead to misunderstandings

at both the individual and collective levels.

1332 Statistical Journal of the IAOS 41(4)

Figure 4. Frame from the video “GDP explained in two minutes”.

Source: D. Squillante, Italian National Institute of Statistics, 2020.

Figure 5. Frame from the video “the labor market explained in two minutes”.

Source: D. Squillante, Italian National Institute of Statistics, 2020.

Here is the link to access the video, which has been

shared on the ofﬁcial website, YouTube channel, and insti-

tutional social media proﬁles:

Link:

IT: https://www.youtube.com/watch?v=uSQrQCbv_Eo

EN: https://www.youtube.com/watch?v=uI1-Q8-BbRI&

t=2s

Here is the link to access the video, which has been

published on the ofﬁcial website, YouTube channel, and

institutional social media proﬁles:

Link:

IT: https://www.youtube.com/watch?v=o3Mm8HelxBc

EN: https://www.youtube.com/watch?v=z1Fy7HQ8tw0

&t=3s

Squillante 1333

Figure 6. Frame from the video “international day for the elimination of violence against women 2022”.

Source: D. Squillante, Italian National Institute of Statistics, 2022.

2.2.2 Commemorative days. Another strand of Istat’s

video infographics is dedicated to celebrating ofﬁcial inter-

national and world days, aiming to raise awareness and

inform general audiences about social, cultural, economic,

and environmental topics of universal importance.

Often addressing complex themes—such as the Interna-

tional Day for the Eradication of Poverty—and sensitive

issues—like World Suicide Prevention Day—these video

infographics serve as case studies in the delicate art of

visual data storytelling.

In such instances, solid statistical and graphic design

foundations must be carefully combined with a heightened

sense of ethics and sensitivity toward the phenomena being

represented.

A particularly meaningful example of this careful bal-

ance is the video produced in 2022 for the International Day

for the Elimination of Violence against Women. Through

meticulous narrative and visual attention—balancing the

delivery of information with the emotional depth of the

message—it presents data on women’s victimization and

highlights the vital role of anti-violence centers in support-

ing victims’ recovery (Figure 6).

Here is the link to access the video published on the

ofﬁcial Istat website, YouTube channel, and social media

proﬁles:

Link:

https://www.youtube.com/watch?v=K-T1Z0853ec&

t=16s

Another example of a video created to “statistically cel-

ebrate” globally recognized commemorative days is the

one produced in 2024 for International Women’s Day

(Figure 7).

The decision to include this video in the contribu-

tion reﬂects Istat’s recent experimentation with artiﬁcial

intelligence as an executive partner in the creation and

animation of graphic elements supporting visual data

storytelling.

Speciﬁcally, after imagining what it would look like to

see the Mona Lisa grow up and age, in order to repre-

sent some of the most signiﬁcant gender disparities across

“her” life stages, artiﬁcial intelligence was employed both

to model younger and older versions of her, and to generate

a male counterpart—also shown aging over time—placed

alongside her as a point of comparison.

Figure 7. Frame from the video “international women’s day

2024”.

Source: D. Squillante, S. Barletta, Italian National Institute of

Statistics, 2024.

1334 Statistical Journal of the IAOS 41(4)

Figure 8. Frame from the video “if we were 100–2018 edition”.

Source: D. Squillante, Italian National Institute of Statistics, 2018.

Here is the link to access the video, which has been

published on the ofﬁcial website, YouTube channel, and

institutional social media proﬁles:

Link:

https://www.youtube.com/shorts/zY0u_9eHqLs

2.2.3 Mainstream statistical trailers. Another category of

infographic videos that garners many views and interactions

consists of mainstream statistical trailers: simple and visu-

ally lighthearted representations of broad thematic areas

of general interest, designed to engage viewers and intro-

duce them to the rich informational heritage of the Italian

National Institute of Statistics.

Born from a creative process aimed at harmonizing

statistical accuracy with sensory experience, great care is

given to every detail—from data selection to framing, from

music choice to the r hythmic editing of textual and visual

elements.

The ﬁrst example of this video type is the cult classic

“If We Were 100–2018 Edition,” which condenses into less

than two minutes the portrait of an imagined Italy composed

of only 100 inhabitants—familiarizing viewers with the

concept of “percentage”—while narrating characteristics

that cut across territorial, demographic, and socio-cultural

dimensions (Figure 8).

Here is the link to access the video, which has been

published on the ofﬁcial website, YouTube channel, and

institutional social media proﬁles:

Link:

IT: https://www.youtube.com/watch?v=OSGs1FVhkpY

EN: https://www.youtube.com/watch?v=qBe3o6vbYlQ

Aimed at bringing statistics closer to children, the video

If We Were 100 C hildren adopts the same narrative logic to

portray an imagined Italy made up of just 100 children.

With colorful imagery, dynamic animations, and cheer-

ful, engaging music designed to maintain attention and

make learning both enjoyable and stimulating, the video

explores key aspects of children’s lives — from friendships

to sports to internet use — presenting statistics as a tool to

narrate children’s realities in a way that speaks directly to

them (Figure 9).

Here is the link to access the video, which has been

published on the ofﬁcial website, YouTube channel, and

institutional social media proﬁles:

Link:

IT: https://www.youtube.com/watch?v=awdHmoWyFu

E&t=15s

EN: https://www.youtube.com/watch?v=-zuOY9HHI2I

2.2.4 Flagship reports. Since its foundation, Istat has rec-

ognized that the authority and enduring value of cer-

tain editorial products — such as the Italian Statistical

Squillante 1335

Figure 9. Frame from the video “if we were 100 children”.

Source: D. Squillante, Italian National Institute of Statistics, 2018.

Yearbook — make them not only essential tools for dis-

seminating and communicating ofﬁcial statistics, but also

strategic assets for strengthening institutional identity, vis-

ibility, and engagement with both the general public and

national and international partners.

In an era increasingly characterized by fragmented and

fast-paced information, Istat has progressively expanded

its portfolio of “ﬂagship reports” to provide the country

with authoritative and accessible overviews on key macro-

themes vital for interpreting the present and planning for

the future — including the Annual Report and the Report

on Competitiveness.

To promote and enhance the accessibility of these

Reports —especially across communication channels not

suited to presenting the full documents but highly effec-

tive at reaching broad and diverse audiences —a dedicated

series of video infographics has been developed.

Two illustrative examples featured in this contribution

are the videos created for the Sustainable Development

Goals (SDGs) Report (Figure 10) and the Equitable and

Sustainable Well-being (BES) Report (Figure 11).

The SDGs video, in particular, offers a simpliﬁed yet

informative explanation of why and how the Sustainable

Development Goals serve as a global reference framework

for integrating economic growth with social justice and

environmental sustainability. It also presents a concise sum-

mary of indicators across thematic domains, aiming to raise

public awareness of the structure’s meaning, relevance, and

strategic content.

Here is the link to access the video, which has been

published on the ofﬁcial website, YouTube channel, and

institutional social media proﬁles:

Link:

https://www.youtube.com/watch?v=r4n0DwhrUR0

Encouraging everyone to develop full awareness and to

actively participate in social development, the video ded-

icated to the Equitable and Sustainable Well-being (BES)

Report s imilarly explains —in an accessible and light

tone— the complex structure of the BES domains and

indicators, and its usefulness for development policies

capable of planning and assessing beyond mere economic

growth.

Here is the link to access the video, which has been

published on the ofﬁcial website, YouTube channel, and

institutional social media proﬁles:

Link:

https://www.youtube.com/watch?v=gV3w8_JcGHQ&

list=PL0vceHDeWbohJQ-Ci_JfSnUW51-CXa5V0&

index=2

3 Some (non-)conclusive considerations

In the global Onlife era—characterized by the accelerat-

ing and often imperceptible blurring of boundaries between

analog and digital, physical and virtual realities—ofﬁcial

statistics face the dual challenge of maintaining scientiﬁc

rigor while adapting to a rapidly evolving communication

landscape.

1336 Statistical Journal of the IAOS 41(4)

Figure 10. Frame from the video “sustainable development goals (SDGs) report 2020”.

Source: D. Squillante, Italian National Institute of Statistics 2020.

Figure 11. Frame from the video “equitable and sustainable well-being report 2018”.

Source: D. Squillante, Italian National Institute of Statistics 2018.

Within this context, visual data storytelling products

have emerged not only as essential vehicles for rendering

complex statistical information accessible and engaging but

also as strategic instruments to counteract misinformation

and public disengagement.

Istat’s ongoing commitment to the multidisciplinary

development of infographics represents a forward-looking

response to these challenges, grounded in recent advances

in digital storytelling, neuroscience, communication

psychology.

This innovative approach aligns with the needs of a

visually oriented society increasingly inﬂuenced by digital

media consumption patterns, while striving to uphold the

Squillante 1337

democratic ideal of universally accessible and trustworthy

information.

However, this dynamic evolution is accompanied by

pressing organizational and resource-related considera-

tions. The production of high-quality infographic and

video-infographic content demands signiﬁcant investments

in specialized human capital, technical infrastructure, and

collaborative workﬂows.

Balancing the principles of effectiveness, efﬁciency, and

economy—collectively known as the “3Es”—is crucial for

ensuring that these communication outputs deliver max-

imum impact without overextending limited institutional

resources. The hybrid model employed by Istat, combining

in-house expertise with strategic outsourcing, offers a repli-

cable framework for other National Statistical Institutes

(NSIs) facing similar constraints.

Moreover, the rise of artiﬁcial intelligence and auto-

mated content generation presents both unprecedented

opportunities and challenges. AI tools can augment the cre-

ative and analytical capacities of statistical communicators,

enabling faster prototyping and personalized user experi-

ences. At the same time, reliance on automation risks over-

simpliﬁcation and loss of contextual nuance, emphasizing

the need for careful oversight and ethical standards.

Looking ahead, future research and institutional prac-

tice should continue to explore the intersection of sci-

entiﬁc rigor, technological innovation, and user-centered

design in statistical communication. Ongoing evaluation of

user engagement, comprehension, and trust metrics will be

essential for reﬁning methodologies and adapting to shift-

ing audience expectations. By fostering interdisciplinary

collaboration and investing in capacity-building, NSIs can

enhance their resilience and relevance in an increasingly

complex and data-saturated world.

Ultimately, the question remains: how will Istat and

similar institutions sustain and amplify the performative

aesthetic of statistics—where empirical rigor meets evoca-

tive storytelling—so as to promote informed citizenship,

transparency, and democratic participation in the digital

age?

This article contributes to that reﬂection by unpack-

ing the multifaceted process of infographic and video-

infographic production, highlighting both its scientiﬁc

foundations and practical realities, and offering insights that

may guide the future of ofﬁcial statistical communication.

ORCID iD

Daria Squillante https://orcid.org/0009-0004-2603-4097

Funding

The author received no ﬁnancial support for the research, author-

ship, and/or publication of this article.

Declaration of conﬂicting interests

The author declared no potential conﬂicts of interest with respect

to the research, authorship, and/or publication of this article.

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